Brainard Carey's Blog, page 53
March 12, 2021
Russell Maltz
Russell Maltz (b. 1952, Brooklyn, NY) has exhibited work in numerous solo and group exhibitions throughout the United States and internationally, including in Australia, Germany, Austria, France, Italy, Israel, Denmark, Mexico, Switzerland, Japan and New Zealand.
His work has been reviewed in publications such as The New York Times, Artforum, Art in America, Hyperallergic and The Village Voice. His works are in the collection of The Brooklyn Museum, Yale University Art Museum, Fogg Art Museum, Harvard University Art Museum, Kunstraum-Alexander Burkle, Freiburg, Germany, San Jose Museum of Art, San Jose, California, Arkansas Art Center, Little Rock, Arkansas, Saarland Museum, Saarbrucken, Germany, Stiftung fur Konkreter Kunst, Reutlingen, Germany, Wilhelm-Hack Museum, Ludwigshafen , Germany, Gallery of Western Australia, Perth, Australia.
He has been facilitating with Critical Practices Incorporated since its inception and serves on its advisory board.
A survey exhibition exploring 40 years of his work was recently mounted at the Stadtgalerie in Saarbrucken, and at Galerie Michael Sturm in Stuttgart, Germany and ran from May through August 2017. The exhibition was accompanied by a monogram book covering his work from 1976 through 2017 and published by The Stadtgalerie Saarbrucken and printed by Kerber Verlag in Biefeld, Germany. In NYC he exhibits at Minus Space.
Russell Maltz lives and works in New York City.
BALLPARK – Installation View 2012 – Minus Space Gallery, Bklyn., NY, Works from the series dating from 1976 to 2012, Mixed Media – Dimensions Variable
Stacked Orange, 2021 Polyurethane and Acrylic on plywood (7) plates stacked against the wall 96 x 48 x 15 inches, (243.8 x 121.9 x 38 cm)
March 4, 2021
Ellen Hackl Fagan
Ellen Hackl Fagan builds connections between color and sound using installations, an interactive web app, and collaborative projects that combine color-saturated paintings with sound. Balanced between randomness and intention, like jazz music, Fagan’s art continues to reveal limitless possibilities for improvisation.
Echoing life’s chaotic beauty, her color-saturated paintings are sourced in pop music, Rimbault, Jungian psychology, the theory of correspondences, minimalism and decorative art.
Ellen Hackl Fagan is the inventor of The Reverse Color Organ and the ColorSoundGrammar Game, two projects that enable viewers to interact aurally with color. The Reverse Color Organ is a web app, downloadable to a smart phone, thus placing this synaesthetic tool into peoples’ hands to be used, not only to expand the language of color, but also as a crowd-sourced musical instrument. Fagan exhibits her work extensively throughout New England and New York City.
Books she continues to reference in her work are: James Joyce, Finnegan’s Wake, Ellen Dissanayake’s Homo Aestheticus, and Ogham, An Irish Alphabet which tap into her deep interest in prehistoric art and earthworks.
In 2014 she expanded her independent curatorial practice into a full time business and is now the owner of ODETTA Gallery, based in New York City and Greenwich, Connecticut. Since that time Fagan has created and produced over 70 exhibitions of contemporary art, working with over 150 artists, in addition to maintaining her studio practice.
As director of ODETTA, she is exploring new platforms in gallery practice and community building, both virtually and in real life. During the pandemic, she has opened ODETTA Digital on the SHIM Art Network platform, and is their Director of Sales, bringing together groups of artists to develop their own exhibition opportunities and curatorial skills. She also has opened ODETTA Petite, a replica of the ODETTA Bushwick gallery space. Here she exhibits works as model scaled proposals for monumental works of art, to be purchased as commissioned works.
ODETTA has been critically reviewed in numerous notable publications, both in print and in blogs, like The New Criterion, Artillery Magazine, and Hyperallergic.
Public commissions include Coach’s flagship store on 5th Avenue and David Yurman Jewelers’ showroom in Tribeca. ODETTA’s exhibitions have traveled to Real Art Ways in Hartford, CT, The Flux Art Fair at Marcus Garvey Park in Harlem, NYC, Bronx Art Space, NYC, and the Morris Museum of Art, Morristown, NJ.
Ellen Hackl Fagan, installation view Helpless 2020 Five Points Torrington CT.
Ellen Hackl Fagan, SeekingtheSoundofCobaltBlue, Bounty, 2020, inkpigment acrylic on readymade object, 2020, 12-x-12-inches, Private Collection.
Emily Larned
has been publishing as a socially engaged art practice since 1993, when as a teenager she made her first zine. She is co-founder of Impractical Labor in Service of the Speculative Arts (ILSSA, est. 2008), a union for reflective creative practice, which to date has counted over 400 members in 37 states and 6 countries. ILSSA explores the immaterial working conditions of impractical laborers through participatory projects, publications, and exhibitions. Through her imprint Alder & Frankia (est. 2016), Emily publishes new collaborations and reissues of feminist archival material.
Emily’s award-winning artist books, zines, & publications (including Muffin Bones zine, Memorytown USA zine, Parfait zine, & artist books under her former imprint Red Charming) are collected by over 70 institutions internationally, including the Tate, the Brooklyn Museum, the V&A, & the Smithsonian, & are exhibited around the world. Her work has received accolades from the AIGA (50 Books | 50 Covers), the Type Directors Club (TDC) (The World’s Best Typography), and the Connecticut Art Directors Club (CADC) (Gold & Silver awards in Book Design, Spirit of Creativity Award). She graduated from Yale School of Art with an MFA in Graphic Design and is currently Assistant Professor of Graphic Design at the University of Connecticut, Storrs.The book mentioned in the interview is Cassandra Speaks: When Women Are the Storytellers, the Human Story Changes by Elizabeth Lesser.
A sampling of publications from Impractical Labor in Service of the Speculative Arts (ILSSA or Impractical Labor for short). Established in 2008 as a collaboration between Emily Larned and Bridget Elmer, ILSSA is a union for reflective creative practice. As a union for artists, makers, and creative practitioners of all kinds, ILSSA focuses on improving the immaterial working conditions of members. ILSSA publishes contemplative tools and resources; organizes participatory projects, exhibitions, and events; facilitates an annual group residency; and observes an annual holiday, the Festival to Plead for Skills. ILSSA seeks to restore the relationship between makers and their tools, makers and their time, and makers and what they make. Basic membership is free and open to all who which to join. 
Partial view of the installation “Police Others As You Would Have Others Police You,” part of “Who Governs?” curated by Frank Mitchell, Artspace New Haven, October 30-December 12, 2020. Print installation made from the archives of Kay Codish, feminist theater director turned head of the New Haven Police Academy from 1992-2008. In the foreground is a reprint of her 1996 article.
March 3, 2021
Michael Bevilacqua
Known for combining high and low culture through elements of painting, drawing, graphic design, animation, and collage, Bevilacqua characteristically works in a saturated palette, covering his glossy canvases with brand logos and doodles.
Michael Bevilacqua’s semi autographical mixed-media works serve as a platform for exposing his cultural, intellectual and spiritual preferences.
His work can be found in numerous public collections including the Whitney Museum of American Art, New York and the San Francisco Museum of Modern Art.
Learn more on his Instagram account.
The book mentioned in the interview was The Devil you know by Charles M Blow.
Balen/SEGA 2019 paint and acrylic on digital canvas 55” x 65”
Shake this Disease 2020 paint pen and acrylic on paper 24” x 18”
Data Moshers 2017 UV ink on canvas 60” x 48”
February 26, 2021
April Bey
April Bey grew up in The Bahamas (New Providence) and now resides and works in Los Angeles, CA as a visual artist and art educator. Bey’s interdisciplinary artwork is an introspective and social critique of American and Bahamian culture, feminism, generational theory, social media, AfroFuturism, AfroSurrealism, post-colonialism and constructs of race within supremacist systems.
Bey’s work is in the collection of The California African American Museum, The National Art Gallery of The Bahamas, The Center for Contemporary Printmaking, Fullerton College Art Gallery, Museum of Art and History, Lancaster, CA, and more. Bey has exhibited in biennials NE7, NE8 and NE9 in The Bahamas. Bey has also exhibited internationally in Italy, Spain and Accra Ghana, West Africa.
Bey has launched 5 solo exhibitions: Picky Head at Liquid Courage Gallery in Nassau, Bahamas, COMPLY at Coagula Curatorial in Chinatown, Los Angeles, MADE IN SPACE at Band of Vices Gallery in West Adams, a large survey of work spanning several years, Welcome to Atlantica at Fullerton College Art gallery and most recently a solo presentation with UPFOR Gallery at UNTITLED ART ONLINE Art Fair.
Bey is both a practicing contemporary artist and art educator having taught a controversial course at Art Center College of Design called Pretty Hurts analyzing process-based art and Beyoncé hashtag faux feminism. Bey is currently a tenured professor at Glendale College.
And I’m Calm, Calculated and Perfectly Aligned aprilbey@gmail.com Watercolor drawing, acrylic paint, epoxy resin, hand-sewn “African” fabric, oil impasto 40 x 30 in 2020
COLONIAL SWAG: First Edition Atlanticans aprilbey@gmail.com Digital print stapled into eco fur on panel 30 x 24 in 2021
Charlotte Becket
Charlotte Becket lives and works in New York City where she is an Associate Professor at Pace University.
She attended Hunter College’s MFA program and received her BFA from the Cleveland Institute of Art. Solo and two person exhibitions include LaMama Galleria, New York City, Valentine Gallery NY, Crisp Gallery in London, LEAP in Berlin, Taxter and Spengemann in New York City as well as group exhibitions at Gazelli Art House in London, Gasser and Grunert, Anna Kustera, NY Studio Gallery, Passerby and the Invitational Exhibition Academy of Arts and Letters in New York City.
She has been invited to lecture on her work at various galleries and universities and has been the recipient of grants from The New York Foundation for the Arts, Socrates Sculpture Park, The Joan Mitchell Foundation, The Tony Smith Foundation, the Verizon Foundation, and the Center for Book Arts. Her work has been reviewed in The New York Times, TimeOut London, ArtForum, and Art in America, among others, and included in the publication, 100 Artists, a compendium of interviews with 100 international contemporary artists by Francesca Gavin.
Force Field Book Series, 2019, paper 8″x3″x3″
Particle Horizon, 2020, paper 26″x26″x30″
February 25, 2021
Fran Shalom
Fran Shalom has exhibited widely throughout the United States, including the Fogg Art Museum in Cambridge Mass, and the Newark Museum. Her work is included in the collections of the Metropolitan Museum of Art, the Brooklyn Museum, the Rose Art Museum and the Biblioteque Nationale in Paris.
She has been the recipient of a Pollack Krasner Arist Grant, a MacDowell Colony Fellowship and an Art Omi Residency. She is represented by the Kathryn Markel Gallery in New York City.
The book mentioned in the interview is A Shoe Story by Lesley Chamberlain.
Untitled, 2021, 24×24” oil on panel 
Rendevous,2020, 24×24” oil on panel
February 18, 2021
Judith Page
Judith Page was born in Lexington, Kentucky, and studied art at the University of Kentucky and Transylvania University. Early influences were her father, an amateur historian, photographer, and raconteur, who instilled in her a love and respect for history and the creative process, and writers such as Flannery O’Connor and Carson McCullers who provided her with many potent visual images. Other early influences include the Roman historian Tacitus and the politician Cassius Clay. Page says that her “art emerges from a Gothic sensibility, a place where horror and beauty exist in close proximity, where innocence encounters depravity, where the spirit is consumed and revived from moment to moment.”
Page lived and worked in Florida until relocating to New York City in 1992, and currently lives in the Williamsburg section of Brooklyn. She received individual artist grants from the Gottlieb Foundation, the Pollock-Krasner Foundation and the State of FL. Exhibitions include Pop Surrealism and The Photograph as Canvas, The Aldrich Contemporary Art Museum and Disarming Beauty: The Venus de Milo in 20th Century Art, Dali Museum, and solo exhibitions at Luise Ross Gallery, New York, NY; Wake Forest University, Winston-Salem, NC; Massry Center for the Arts, Albany, NY; Lesley Heller Gallery, New York, NY and Stetson University, DeLand, FL.
Known for her inventive use of materials and stimulating social commentary, Page’s numerous exhibitions and installation projects were written about in Art Papers, Sculpture, The New York Times, Art on Paper, and Art in America. Page’s art is represented in numerous public collections including Vanderbilt University; FSU Museum of Fine Arts, Tallahassee; University of KY Art Museum; Mint Museum of Art; University of TN; University of Iowa Museum of Art; and Orlando Museum of Art, FL. She was on the General Fine Arts faculty of MICA from 2004-2011 and on the faculty of the MFA Fine Arts program at SVA from 2010-2016. Her website is www.judithpage.com.
Fruits of War (Brooklyn), 2021, archival pigment print on rag paper
Spider’s Kiss (Manhattan), 2021, archival pigment print on rag paper
Kristin Marting
Photo: Xi ZhouKristin Marting is a director of hybrid work based in NYC. Over the last 25 years, she has constructed 29 stage works, including 9 original hybrid works, 6 opera-theatre and music-theatre works, 9 reimaginings of novels and short stories and 5 classic plays. She works in a collaborative, process-driven way to fuse different disciplines into a cohesive whole. She has developed a unique directorial form that features a “gestural vocabulary” used both as an emotional signifier and as a choreographic element.
Kristin has directed 19 works at HERE and also premiered works at BAM, 3LD, Ohio Theatre, and Soho Rep. Her work has toured to 7 Stages, Berkshire Festival, Brown, MCA, New World, Painted Bride, Perishable, UMass, Moscow Art Theatre, London and Oslo. She has directed readings, workshops and premieres for Clubbed Thumb, New Georges, National Sawdust, Playwrights Horizons, Prototype, Public Theatre, Target Margin, and others. Selected residencies include Cal Arts, LMCC, Mabou Mines, MASS MOCA, NACL, Orchard Project, Playwrights Center, Smack Mellon, Voice & Vision and Williams. She has also directed productions for Cal Arts, NYU, and Sarah Lawrence.
Kristin was recently named a nytheatre.com Person of the Decade for outstanding contribution, a Woman to Watch by ArtTable and honored with a BAX10 Award. Selected grants include 2 MAP Fund, NEA, NYSCA, Greenwall, Harkness, Jerome and Santvoord Foundations. Prior works have been reviewed in all major NY papers.
Kristin is a political activist who has organized many art actions and a frequent panelist for the NEA, TCG, NYSCA, DCA, and ART/NY. She has taught Creative Producing and Directing as well as lecturing at a number of universities. She served as Co-President of the League of Professional Theatre Women. She assisted Robert Wilson on Salome and Hamletmachine and co-founded the tiny mythic theatre company. She graduated from NYU’s Tisch School of the Arts with honors in 1988.
Kristin is co-founder and Artistic Director of NYC’s HERE Art Center, where she directs projects, cultivates artists and programs two performance spaces for an annual audience of 30,000. She also co-founded and is Co-Artistic Director of the annual Prototype opera-theatre festival.
Assembled Identity, photo: Purva Bedi
Looking at You, photo: Blythe Gaissert”
Sandra Mann
SANDRA MANN, photo: Tom KauthSandra Mann is one of the most renowned artists and photographers of Germany. In her cross-genre oeuvre – she employs a wide range of artistic forms of expression such as photography, installations, sculpture, and video – she conceptually addresses the relationship between people themselves and between people and nature, the environment, the animal world, and gender.
Her work and teaching is defined by an exploration of the fundamentals of photography, imagery, and image perception. She also curates exhibitions in and outside Germany. She is a member of the international curator network Qipo and works as a jury member for photography and art competitions. Alongside various other prizes she got scholarships such as the Stipendium der Universitätsstiftung Augsburg, the Stipendium der Deutschen Künstlerhilfe, the Helsinki-Reisestipendium des Kulturamt and the Goetheplakette of the city of Frankfurt am Main.
She was 2016/17 Artistic Ambassador of Stiftung Palmengarten und Botanischer Garten and since 2017 she is Artistic Ambassador of the Keep The World Foundation.
Her works are represented in national and international collections, including Museum für Moderne Kunst in Frankfurt am Main, MUCA in Mexico City, Kunsthalle Wien in Vienna, Vehbi Koç Foundation in Istanbul, and the Art Collection Deutsche Börse Photography Foundation.
060814-8816 Hommage an Monet (Jessica & “Seerosen”, Buchschlag, Germany), 2014
210819-1309 Tigertarn (Le Brothers & LeLe Fire,Phu Quoc, Ru Cha, Hue, Vietnam), 2019
